I'm working on an experimental video for a group called King Black Acid who has a new album coming out. I'm doing all the shooting, scanning, coloring and editing, all Super 8 200T/500T and a little 50D. I used 2 Nizo 481's and a Canon 814XLS. Lots of animated and open shutter shots, all came out great so far. Still waiting for some final rolls to come back. Should be up in June. Aside from that, i've been working a little with 16mm print and optical audio scanning.

I've been learning how to use the Uhler Cine Printer for 16mm wide Double Regular 8mm film. ORWO UN 54 and ORWO DP 3 have been used. UN 54 works great in the gate, not so the DP 3 as it is too wide. I had to sand it narrower. But it may work if I slit it and print as Regular 8mm. The printer machine has a R8 gate and a 16mm gate. I've been printing Double 8mm using the 16mm gate. My latest work has been to fix up Super 8mm reels with centers to use on the spindles to fit the Uhler. I now have 4 reels, 3 are the same size. One is smaller, no matter, I can only develop so much at a time.

Now I have to figure out how to slit a roll of print stock in the dark, can it, both halves, in the dark. Then I have to try to print some, using a Regular 8mm negative. I already made some clear leader so I can see if the light is printing in the dark. The lamp setting is so low as to make the light almost invisible through two layers of film, so one being clear may help. DP 3 uses higher light levels so that is not a problem with that film, but UN 54 takes much lower levels of light.

Developing Regular 8mm will be new, too. I have only developed 16mm wide Double 8mm so far. I will have to switch to a larger spiral tank and use much more chemical. Longer pieces will be developed that way, but tests will be more difficult and expensive to make.

All of this applies to 16mm film prints. I will be using a 100 foot spiral developing tank soon. BTW, one is for sale now on the bay if you want to invest.

I just assembled a film drying rack that arrived from Ukraine. It holds up to 30m or 100 feet.

Not much happening 8mm-wise for me, except that I've edited a couple of travel films for a public talk on 'The Delights of Slow Travel'. One was a short trip from Bristol/England to Cologne/Germany via the Portsmouth-Caen ferry crossing, recorded on Standard 8 with Ektachrome 100D - see https://vimeo.com/213502307 - and the other one a longer round trip from England to Germany and Sweden and back via France, again travelling by rail and ferry, recorded on ORWO 54 Super 8 - see https://vimeo.com/213504285

The point was to try encourage people to travel without a plane, and my talk was followed by a presentation from another chap on walking holidays.

Interestingly, nobody commented on the look/technology of my films. Mind you, most of the audience were of an age range that would have been familiar with 8mm holiday movies.

Been working on an interesting music video. I took a bunch of 16mm and 35mm stock that's been sitting in my fridge for years and shot a man walking around Dallas in a space suit. The song is a mellow tune about isolation in a relationship. With very little planning other than locations and limited time with the suit itself, we shot in an extremely rare snow storm in Dallas and the next day was sunny and beautiful with no snow on the ground.

Trying to find the story in the almost random shots is difficult but fun. We're going to be using some public domain NASA clips too.

Also, for the first (and last) time ever I used a 35mm magazine that was loaded backwards and shot through the wrong side of the film. Gave interesting results. This was a mag that I loaded improperly 6 years ago and it sat in my garage like that since then. Because I was shooting outside in the dark, I didn't notice the issue. For night shots in film I usually try to do a digital backup of the scene just in case because I'm never 100% sure of what I'll get. In case you're wondering what shooting through the wrong side of the film looks like:

I finished a short film recently made as a segment for an "exquisite corpse" project. I shot it on 16mm (on 17 year old EXR 50D & Vision 250D) with my "new" Éclair ACL with a set of switar primes (16mm, 75mm, 25mm, 50mm): https://youtu.be/4Sab8BLhAJY
next time I really need to rent a real dolly and track.

Another project that has come up: I'm going to do a re-make of a music video I shot on Super8 many years ago. Back then it was scanned on a Workprinter from Moviestuff. Now it's time to scan it in 4K and released it in UHD most likely.

I have to find time to finish my new film scanner for both Super 8 and 16mm, I’m adding the finishing touches to my 16mm film spooler that allows me to split the large 16mm roll of 400ft to smaller 200ft or 100ft with ease in daylight. I am putting all of my workshops on hold and am planning a short drama to be shot on Super 16, hopefully I will start filming it in July, ideally I want to split from larger 400ft rolls to smaller 200ft rolls for my Éclair and want to complete my scanner so I can scan the footage. Then there's the dilemma should I buy the new Super 8 camera when it comes out.

Another project that has come up: I'm going to do a re-make of a music video I shot on Super8 many years ago. Back then it was scanned on a Workprinter from Moviestuff. Now it's time to scan it in 4K and released it in UHD most likely.

In addition to that a friend and I plan on shooting some 16mm this summer. Skateboarding (ramps and concrete bowls).

/Andreas

I'm in the exact same boat with an experimental short I did in 2005 that played at a local festival. Except there's no way I could find the time to rescan and edit that project anytime soon.. although I'd really like to. There's still a compressed version on a YouTube account that I no longer have access to. I only have a copy on an old ipod that still works, just not with computers.

Been working on an interesting music video. I took a bunch of 16mm and 35mm stock that's been sitting in my fridge for years and shot a man walking around Dallas in a space suit. The song is a mellow tune about isolation in a relationship. With very little planning other than locations and limited time with the suit itself, we shot in an extremely rare snow storm in Dallas and the next day was sunny and beautiful with no snow on the ground.

I dig the stills here! Spacesuite in Dallas. Looks great. Post a link to the video when it's finished please! It's great inspiration to others.

Currently finishing the post-production of a music-video shot in Super 35 (Arri 435 Xtreme with Cooke 15-40 zoom mostly and couple of different shots with Carl Zeiss Ultra Prime) and Super-8 (Classic Pro8 Max8 with Ultra Prime lens, Moviflex MS8 and 1x8 Quartz). The stock in 35mm was Kodak 5203, developed at FotoKem. The stock in Super-8 was Kodak 7203 developed at Pro8mm and custom load of Eastman Double X, developed in Chile using Ilfotec DD-X. The 35mm footage was scanned (2K DPX RGB 16-bit flat/log) with a Scanity HDR at FotoKem, whilst the Super8 footage was scanned with a ScanStation at Pro8mm (2K DPX RGB 16-bit flat/log).
The editing and color correction was done with a da Vinci Resolve. The color grading was done using a FSI 17" monitor (Rec 709). We are masterizing this week for HDTV free to air broadcast (1920x1080) and for the web. Eventually a film-out will be done in the future, if funds become available.
In total we have shot 1200 feet of 35mm and 150 feet of Super-8 film, for a 3min 45seg song.
Whenever this music video for the band "Rez" is released, I can post a link here.

Also preparing for later this year, a new research project related to Super-8 and Digital Intermediate. Early testings were done with a PL to C Mount adapter (MTF) in order to use Master Primes optics with the Classic Pro8 camera. Look forward to compare some scanners before choosing one. The Golden Eye IV seems an interesting development along with other scanners. I have been cooperating a bit with DFT providing some Max8 footage for their Scanity machine. First samples looks interesting.